Series 2 of The Drama Coach Podcast begins with a gentle shift in focus. We are still here for parents and carers supporting young performers, but this series also speaks more directly to teenagers and young adults who are starting to take acting more seriously and wondering what their next steps might be. To open the series, Lisa is joined by Laura Graham-May, founder of Rag & Bone Arts in Chippenham. Laura has spent many years working with young people through drama, particularly through devising and ensemble-based work, where creativity, collaboration and expression sit alongside performance. This is a thoughtful conversation about what good drama training can look like at different stages. It is not only about shows, roles or being the loudest person in the room. It is about process, confidence, self-knowledge and finding the right creative environment for who you are.
Drama is not only musical theatre
One of the first ideas Lisa and Laura explore is the common assumption that performing arts means singing, dancing, acting and big musical theatre energy. For some young people, that world is exciting and exactly where they want to be. For others, it can feel as though there is no place for them if they do not see themselves as a musical theatre performer. Laura offers a broader view. Performing arts can include physical theatre, community arts, devising, creating original work, screen work and many other forms of performance. A young person who does not want to sing or dance does not need to write off performing altogether. They may simply need to discover a different route into the work. That message is especially useful for teens and young adults beginning to ask bigger questions about training. There is no single version of what a performer should look like, sound like or enjoy.
Why process matters
Laura speaks passionately about the importance of process. In her work at Rag & Bone Arts, young people are not just handed a finished product and told where to stand. They are invited into the making of the work. That can be powerful. When students are asked for their ideas, their perspective and their response to the world, they begin to see that their own experiences can become part of theatre. Laura notes that young people do not always realise their view of life is interesting enough to build stories from. Part of the teacher’s job is to draw that out carefully. This kind of training can develop confidence in a quieter, deeper way. It is not only about giving someone a bigger part. It might be about noticing a small contribution, valuing an idea, or giving a student just enough challenge to help them grow without overwhelming them.
Confidence is not a straight line
One of the most useful parts of the episode is Laura’s description of confidence as a fluctuating state. Rather than asking whether someone is simply confident or not, she points out that confidence depends on the day, the environment, what has happened before, and what someone is being asked to do. For parents, this is a helpful reminder. Drama can support confidence, communication and self-expression, but it does not “fix” a nervous child overnight. Growth may come in small moments: offering an idea, joining in, taking a turn, listening more carefully, or speaking up when it matters. Lisa and Laura also challenge the idea that the loudest young person in the room is automatically the most confident. Some young actors need encouragement to take up space. Others need to learn rehearsal etiquette, collaboration and when to step back. Both can be part of healthy drama training.
Drama, career choices and knowing yourself
As the conversation turns towards teens, young adults and post-16 pathways, Laura’s advice becomes especially clear: get to know yourself. Drama does not always have to lead somewhere professionally, and training can still be valuable even if a young person later takes a different route. Laura talks about the importance of working out what matters to you, what suits you and what kind of life you may want. For some, performing will remain the goal. For others, drama may lead towards teaching, writing, producing, theatre work, events, community arts or something else entirely.
“Make a decision, commit, go.”
That phrase, which Laura connects to improvisation, captures a useful mindset for young performers. You cannot always know the perfect path in advance. You make the best choice you can, learn from it, and keep moving.
Post-16 training and taking the next step
Laura also reflects on her experience teaching at Bath Theatre Academy, where students were moving into more focused post-16 training. She describes those years as formative, particularly for young people who may not have fully found their feet in school. At that stage, students begin to take more responsibility. They manage their time, understand a different relationship with tutors, and start to discover what commitment really feels like. Laura suggests that readiness is not only about talent. It is also about whether a young person keeps showing up, stays committed and genuinely loves the work enough to continue. For parents wondering whether drama is “worth it”, Laura’s answer is warm and grounded. Training can give young people time to grow, make friends, create interesting work, face challenges and discover more about who they are. Even if they do not become an actor, the experience can still shape them in valuable ways.
A thoughtful start to Series 2
As the first episode of Series 2, this conversation with Laura Graham-May opens up exactly the kind of questions this series will return to: what good training looks like, how young performers begin to understand themselves, and how parents can support without feeling they need to have every answer. Whether you are a teenager considering your next step, an early twenties actor finding your way, or a parent trying to support without pushing, Laura’s advice offers a reassuring message: explore widely, listen to yourself, and find the room where you can grow.